理论的跨界:“党的文艺战士”冯乃超的电影观念考索  

The Cross Boundary of Theory:Research on the Film Concept of Feng Naichao,the Literary Warrior of the Communist Party of China

作　　者：王健 WANG Jian(School of Communication,Fujian Normal University,Fuzhou 350117,China;Public Art Teaching Department,Anyang University,Anyang 455000,China)

机构地区：[1]福建师范大学传播学院,福建福州350117 [2]安阳学院公共艺术教学部,河南安阳455000

出　　处：《重庆邮电大学学报（社会科学版）》2021年第4期138-146,共9页Journal of Chongqing University of Posts and Telecommunications(Social Science Edition)

基　　金：河南省教育厅人文社会科学研究项目(2021-ZDJH-023)。

摘　　要：冯乃超是中共早期革命文艺实践工作的主要参与者,但学界历来对冯乃超的研究只专注于其文学上的造诣,却忽略了他对于电影的相关论述。事实上,冯乃超的电影观念与其无产阶级文艺实践有着本质性关联,其倡导的“革命文学”论将文艺视作思想武器,为20世纪30年代左翼电影运动提供了理论指导。在强调电影社会功能的同时,冯乃超提出了通过“朴素性”表演建构真实生活的现实主义电影创作路径。在对电影本体的认识上,冯乃超还立足于马克思主义文艺观,分别对有声电影、电影的特性及电影剧作进行了理论阐释。Feng Naichao is the main participant in the early revolutionary literature and art practice of the Communist Party of China,but the academic circles have always focused on his literary attainments,but ignored his related discussion on film.As a matter of fact,Feng Naichao’s film concept is essentially related to his proletarian literary practice.His theory of“Revolutionary Literature”regards literature and art as an ideological weapon,which provides theoretical guidance for the left-wing film movement in the 1930s.While emphasizing the social function and ideological effect of film,Feng Naichao puts forward the realistic film creation path of constructing real life through“simple”performance.On the understanding of film noumenon,Feng Naichao also bases on Marxist literary and artistic view,and theoretically explains the sound film,the characteristics of film and film plays respectively.

关 键 词：冯乃超 革命文学 无产阶级文艺 电影观念 

分 类 号：J909[艺术—电影电视艺术]